It is widely assumed by scholars that Christ was in error on such matters as an expectation that the final judgement and its accompanying events would occur within the timeframe of a generation. While accepting that Christ did indeed prophesy his return within this timeframe, a recent co‐authored work When the Son of Man Didn't Come aims to defend the veracity of his prophecy by drawing on the same historical‐critical method that has given rise to doubts about it. The authors propose a distinction between Mosaic and Jeremianic prophecy, arguing that Christ's was of the latter kind, which was present in the Ancient Near East, the Old and New Testaments, and other Jewish and Christian authors. Their argument, however, is at risk of reducing the truthfulness of a prophecy to its success. Hence this article explores a further distinction between two kinds of prophecy made in Thomas Aquinas's account of the truthfulness of prophecy, mapping it onto the Mosaic‐Jeremianic distinction, and arguing that, in view of this linking of Aquinas's understanding of prophecy to the argument of the book, the book certainly adds to the set of proposed theological explanations of how Christ's prophecy of his return was true.

Andrey Bely's autobiographical novel Kotik Letaev and Terrence Malick's film The Tree of Life do not share a common subtext. Nevertheless, they have strikingly similar themes. They each deal with an adult's confrontation of his past through memory, a memory that extends back before birth. Coming to terms with the past prepares the adult protagonist of each work for his destiny. The essay discusses Malick's use of William Blake's mysticism and Bely's dependence on the religious‐philosophical ideas of Rudolf Steiner. Memory plays an important role in both works as it touches on the recapitulation of cosmic origins in the development of the individual human being. What the quester discovers through memory enables him to find the way back to Eternity from which he has descended. Both artists invoke the World Tree uniting heaven and earth and its association with the Cross of Christ. In both the novel and the film the world is seen first through a child's eyes, then through growing understanding of the adult. Malick illustrates with cinematography what Bely describes in words. Malick uses music in a way that fleshes out what Bely attempted to create through using musical tropes in language.